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Young Writers Society


16+ Language Violence

Random, Possibly Cliched, but then Again, Possibly Original, High Fantasy Epic Prologue (with the pointless love poem since removed)

by Spotswood


Warning: This work has been rated 16+ for language and violence.

Read the first chapter here

Prologue

___________________________________________________________________________

"Do you remember when you first took your vows?" Robin leaned on his bow, a sturdy device of black oak almost as tall as he. "Were you sincere when you said the words that bound you to the Greenwood forever?"

Norbit smiled mysteriously, his carrot-coloured hair shining in the light of the brazier's dancing flame. “It was cold,” he said, breaking his smile, “very cold.”

The older man laughed. “I thought you liked the cold. The legendary 'Winterman of Boraelgrasp', famously exiled to the Far North for the 'unforgivable crime of adultery.'”

Says the man responsible for the death of the prince-consort.” Robin was silent, giving the younger man a bitter, but equally sarcastic look. Norbit smiled before pulling a crusty piece of waste out of his nose. “How does a man go from being commander of the Albanese Bloodcloaks to ranger of the green?”

Ah, a gestour now, are we?” Robin looked crossly at his watch mate, but he was not able to hold back a smile. When they had first been paired together after the death of Robin’s previous partner, Robin had been caustic. He did not much care for the young recruit at first, but the lad grew on him, partially due to his witty personality.

Norbit well knew it was hardly Robin’s decision to join the Order of the Green. After he had failed to protect Lord Alvin Windstorm, the old queen’s husband and prince-consort of Albion, the blame was placed upon Robin's shoulders, resulting in his being sent to serve out the remainder of his days as a slave to the forest. He was not the first to be sent to the greenwood for such crimes. Many of the order’s members were convicts, both petty and otherwise, who chose to join the rangers over the noose.

Norbit was one of the few who joined voluntarily. After spending over three years wandering the North he grew tired of the cold, despite having grown up in Boraelgrasp across the Northern Bite. They said that wintermen were bred to the north, becoming used to cold by age seven and loving the wretched thing by fourteen.

Norbit was tired of the cold.

Yet he didn’t expect her to follow him to Albion, into the trees of the Northwest Forest. Of course her malicious grace was nowhere near as intense as it was on the Gag Malak, the Unbreakable Ice and Roof of the World where he had once had the simultaneous pleasure and displeasure of sojourning, but this was different.

Something felt off.

Robin rubbed his hands together. “The Westford is darker than usual. I’ve never much cared for the dark.”

I’d expect you’d be used to it by now, old man,” Norbit said with a sigh. “You’ve been here how long? Seven winters?”

Eight,” corrected Robin. “Eight miserable years of darkness. I don’t even know why the forest was nicknamed the greenwood in the first place.”

Norbit shivered before moving closer to the brazier, which did very little to sate the bite of the frost. “As long as I have been here, never once has the sun shone upon the Westford."

Don’t forget that you have only been here for four full moons. But I will not denounce you. Any sensible man knows that the sun rarely shines upon Albion. Tis’ as rare as decent Albanese cuisine.” The two of them laughed.

Have you always been afraid of the dark, Robin? Are your cravenly ways the reason that you were relieved of your position amongst the captainship of the Albanese bloodcloaks?”

You’ve caught me, lad. I surrender.” The older man made a silly-looking face, making him look rather clownish in the torchlight. During the day he may have had the reputation of being the most skilled archer in the Green, but all of the rangers of the order knew that, when it came to the dark, Robin was craven. “What is it that you fear, Norbit?”

Albanese cuisine.” He shrugged as he felt the same sly smile overtake his face once more. “That and freezing my manhood off.”

Robin nodded solemnly. “Is that why you came south?”

“No,” he laughed, “I have family in Lordium.” It was only half a lie. He had never met his son before, but he felt uncannily attached to his offspring. Following the death of Alicia, he had heard that the young, nameless babe had been sent to live with her family. The red-haired youth smiled inside, remembering the time he had shared a bed with the woman. To this day, his time with Alicia was still the best. But then again, maybe the reason as to why he had such fond memories of her skill was the fact that she was his first.

I still don’t understand,” said Robin, scratching his bald head. “Who could ever grow so offended as to banish a man for such an inane ‘crime’, especially in this day and age?”

Lord Fortman, apparently. They’ve always said that the king of Boraelgrasp is a man of faith. Such proved to be quite true.” He grimaced, but displayed no signs of spite. For he felt none. He no longer held anything against the Lord of the North. Norbit himself was raised in a religious household after all and was taught to honour the One True God. He was sorry that he had sinned, yet he was still glad that he had spent so much time in the North as a result. It made him the man he was today. “After two miserable years of cold,” he continued, “I made my way to Neversummer in the Northern Cities and caught the first ship to Burrow. It was then when I came south and pledged my service to the ‘most valiant order of the green’.”

Not so valiant anymore, I’m afraid,” corrected Robin. “It’s since become an idle ‘army’ of murderers, rapists, and thieves. Ever since the last Great War ended, there’s been a need to keep the degenerates in check.”

Norbit nodded, silently agreeing with the disgruntled officer. “They need to do something with ruffians like us, I suppose." It was intended to be a joke, an attempt to lighten the mood. Still, Robin’s sombre expression did not change. For the next few seconds, everything was silent.

The Order of the Green was once responsible for defending the Northwest Forest and the rest of Albion from "forces of darkness", in an age where warlocks reportedly made the forest their home, conjuring foul things from their towers. There were even tales of how dragons nested in the wood, but the ones who conjured up these wild tales were known to smoke many foul things such as opium and the greenweed. Even the stories about the warlocks had since faded into the realm of fantasy. Still, there many that still believed in the myths. There was an uncanny presence of ruined towers scattered throughout the forest, believed to be left over from the age when druids wandered the land and waged war with the daemonic sorcerers of old. They were all crumbled now, burnt out husks of their former selves, with an exception of one, the so-called “Castle Daemontrance.”

Legends said that it was once home to the evil wizard called Fåol, known for his necromantic and daemonic sorcery. As the story went, he was defeated by a small group of rangers from the South. This legend served as the Order of the Green's creation tale.

The tower had since been converted to serve the order’s purposes, being restored and implemented with heavy defences and reinforced walls. Ever since its renaissance Castle Daemontrance burned down three times. The current structure was near five hundred years old and sturdier than any oak in the forest.

The village of Westford that surrounded the castle wasn’t as much a village as much as a collection of ramble shack huts, hovels, and dugouts that housed the men of the order. The main attraction however was the Old Greenwood Inn, a popular stop for travellers headed through the dangerous wood. Norbit suspected that it had the closest thing to decent Albanese cuisine.

Nothing ever happens here,” Norbit said, breaking the silence. “I wish we could be thwarting wizards, fighting dragons, or whatever it was we used to do.” He sneezed a sneez loud enough to wake the entire Westford.

The old man laughed. “Do you actually believe in that supernatural nonesense? Sure I’ve heard tales of the evil that lies to the North, but it’s simply belian rubbish, from those old religious tales and medieval legends.”

Norbit nodded slightly. “Before ascending to the Gag Malak, my party and I encountered an abandoned mine. The evidence was all there. Long before the coming of the northmen it was home to a family of frost wyrms.”

Robin shrugged as to dismiss Norbit’s allegations. “Rubbish.”

Suddenly, out of the corner of his eye, Norbit saw something, a black shape dashing through the trees. It dissapeared behind the cabin a few hundred yards away. Surprised, Robin turned his head and gave his friend a confused look. “What is it? It looks as though you've seen a ghost!”

I think I saw something over by the Wagger’s shed.” Norbit did not shift his gaze.

Are you sure?” the old bowman asked. “It could be the cold’s just gotten to your head.”

No,” said Norbit, keeping his gaze rested upon the shed. “I'm certain I saw something.” He shivered in spite of himself.

It was probably just an animal then,” Robin said, trying to talk some sense into the lad. “Or one of our lads come back from taking a piss in the woods.” Norbit shook his head. “Shall we go and have a look then?”

No,” Norbit said, putting a hand up. “I’ll go. Command'l have our heads if they find out we abandoned our watch.”

Suit yourself,” retorted Robin, shrugging. “I’ll hold down the fort. Just try not to hurt yourself.”

Norbit grabbed his short bow and slung it over his shoulder. He then grabbed his spear and cautiously made his way over to the shed, his boots crunching in the snow.

The snow was deep and difficult to tread through, but when he neared the shed and looked at the ground he saw tracks, small and light, but tracks nonetheless. Norbit’s suspicions were confirmed.

He walked around the shed, which belonged to Old Wagger, the former quartermaster of Castle Daemonstrance.

Norbit reached the door on the other side of the shack, finding it wide open.

It was a very drafty, one roomed building that had once served as a cache for weapons. The first thing Norbit noticed was the absence of fire in the hearth, striking him as odd. Wagger always kept a fire burning. He ventured deeper and found the old man sitting in his torn-up armchair, asleep. Seeing a bottle of spirits in his hands Norbit did not have to assume anything. He approached the old man, still retaining some of his skepticism.

The utter absence of the Wagger’s snoring confused Norbit. The old man had an infamous snore, especially while drunk. Upon reaching the old man he discovered that he wasn’t even holding the bottle at all! It was bound to his hand with something that appeared to be…tar? Norbit took a deep breath and gently rested his hand over the fat man’s chest. No heartbeat. Old Wagger wasn’t drunk. He was dead.

The sudden realization caused Norbit to jump backwards. He was used to this foul thing, death, wasn’t he? Yet there was something queer about this instance in particular, something that made him shiver.

He searched for any signs as to how he may have died. There, on the ground next to the ratty armchair, was a feather pillow, obviously used to suffocate the poor codger. Norbit figured he’d do the old man one final act of respect. He closed the Wagger's eyes and laid him down on the cot, bottle and all.

Norbit considered reporting this to Commander Magnan so he turned around as to head back out into the cold. After doing so he noticed a dark shape standing in the doorway. A black hood concealed his face and his long black robes gave no insight on the person’s physique.

Without a word they both drew their weapons, the man his quarterstaff and Norbit his spear.

Norbit charged, but the hooded man strafed to the left. The figure swung his staff, which Norbit was able to just barely dodge before regaining his fighting stance. In another attempt, Norbit rushed in and managed to hit man over the head with his own weapon. The other stumbled backwards a few feet, but was able to swiftly recover before raising his staff again.

As the man retreated back from the threshold of the shack, Norbit saw him reach for something, but he was not able to see what it was hurtled back into the room. Once the torch hit the wall to Norbit’s left, the realization had come too late.

In an instant, the shack was ablaze.

Smoke filled the room, obscuring the vision of both Norbit and the other man, who was stupid enough to re-enter the building despite his own fiery concoction. Norbit looked around, trying to find the door as he coughed. He could see the outline of the other who was doing so even more horrendously than Norbit was. His hood was down now, the face being that of an older man with a trimmed, white beard. Norbit took advantage of the situation after removing his own smouldering cloak and charged with his spear pointed toward his enemy who was distracted by his own fiery situation. He broke into a heavy run, impaling the man with his spear, bringing the point down, leaving it inside his victim’s chest as he continued running.

The encounter had lasted for only about thirty seconds, yet it had surprised Norbit so much that he could still barely comprehend what had just happened.

He rushed back to his post as fast as his legs could carry him, the deep December snow slowing him down. Once he finally reached the brazier he saw no sign of Robin. Norbit looked around in all directions until he saw his partner lying on the ground about twenty feet away. Norbit approached the body fearing the worst. Much to his relief the older man was still breathing. There was a large bruise on his head, obviously left over by some blunt object. Luckily, the gash didn’t seem fatal. Due to Robin’s significant distance from the brazier there had obviously been a struggle.

He dragged the body to an obscure dugout nearby and laid it on the empty bed. When Robin awoke he would have a nasty headache, if he even awoke at all.

Norbit broke into a run again, leaving the dugout and heading in the direction of the Westford and Castle Daemonstrance. By the time he reached the edge of one of the shantytowns surrounding Westford his legs were tired, but he kept on running nonetheless. The closest alarm bell was in Westford proper. Usually at night, if the Westford fell under attack the beacons would be lit, signalling a crisis. The sentries didn’t stand a chance tonight.

As he ran through the shantytown he began to notice some of the rangers fighting a handful of the hooded men. Most of his brothers did not even have the chance to change out of their nightclothes, let alone try to make a break for the alarm bell. As he came closer to the bell Norbit noticed that two of the men were pursuing him. He finally reached the alarm bell and managed to ring it a good four or five times before one of his assailants tackled him.

Norbit managed to pull himself back up and immediately punched the man in the face hard enough to render him unconscious.

The other figure pulled down his hood, revealing a man unlike any Norbit had ever seen. There, standing before him was a being that had the body of a man but the head of a red serpentine.

Blood dripped from his chin and lips as it grinned with its razor sharp fangs. As the beast approached him, Norbit’s first reaction was to reach for his spear, but he remembered that he had left it impaled in the old man’s body. He then reached for his bow. He was both shocked and terrified when he discovered that both the bow and the quiver of arrows gone, fallen off his back. The creature approached him, hissing.

I have seen the Gag-Malak and experienced the terrors of the Far North,” Norbit said to himself, aloud. He leaned down and picked up a seemingly sturdy stick off of the ground. “I am not afraid.”

But he was afraid.

The stick proved useless as the beast knocked it from his hands. No sound came out of Norbit’s mouth as he attempted to scream, save for a hissing gag for air. The last thing Norbit saw before he finally closed his eyes was the tower of Daemontrance as it burned with a hellish inferno...


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Fri Nov 28, 2014 2:33 pm
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TimmyJake wrote a review...



Timmy here

You have already had eight excellent reviews on this piece, so I will keep this short and to the point. Mainly I am just here because in order to fully appreciate your first chapter, I must have all the information - even if this is superfluous or doesn't add anything. I don't know. Most prologues seem to be worthy enough to be taken outside and shot up, because they act like the sixth finger that doesn't fit in, but we'll see. I admit that I wrote a prologue for my first book, and my second - both of them having been long since trashed. With that positive beginning, let's head into this.

First line stinks. Erm, sorry. I think all the reviews below me have made me look at this piece in a different light, and my reviewing different. >.< Let's approach this again.

The first line was not as interesting as you could have made it. Think of it this way: A reader walks past your book sitting on a shelf, and they open it - flipping the pages to page one (that never happens with me, but whatever). The first words are supposed to be gripping, and really suck them into your world and story. They need to have a question, bring concern or at least interest to the reader. Your first sentence? I thought they were some monks or something, talking together. Something about vows? NEXT. Even if your story is the best, and just full of wonderful images and believable characters - which from what I read seems to be true - the first sentence will throw them off and you'll lose readers. Mend the first few parts and see if you can't begin strong. You can have them converse about their vows in later chapters, or even later in this prologue.

After he had failed to protect Lord Alvin Windstorm, the old queen’s husband and prince-consort of Albion, the blame was placed upon Robin's shoulders, resulting in his being sent to serve out the remainder of his days as a slave to the forest.


I spy info-dumping, and this is of the worst kind. We have been catapulted into this story, and we're just now starting to look at these characters and recognize them for who they are - rather than just voices we must listen to now. And then you go and start giving us detailed backgrounds on them. And we're not even in the first chapters yet. Introduce things slowly and surely, remembering that you have three hundred+ pages to tell the readers everything you want to put across. You have plenty of time for us to know about these characters. The only thing you should be striving for in the first chapter/prologue, in my opinion, is to interest the reader enough to continue. Nothing more. If you have accomplished that, then you're doing good.

No sound came out of Norbit’s mouth as he attempted to scream, save for a hissing gag for air.


So this is something that happens often enough for me to feel the need to mention it. You have a tendency to overstate things. Not horribly, like going on long spiels about things, but like the sentence above ^^. So you say "no sound came out of Norbit's mouth as he attempted to scream". That sounded quite awkward to read. I think you can do better than that, rearranging words and cutting it for both length and readability. I did like the hissing gag - perfect. I think you could have made this sentence and others much simpler if you tried restating them, reiterating and changing the word order around to make things easier to read.

Norbit tried to scream, but no sound came out save for a hissing gag of air


Using your own words, that is what I came up with. To me, that reads a bit better.

I think everyone else has stolen anything I would have said. >.< And even though you didn't actually ask for the review on this piece, I still thought it would be a good idea to be associated with your story and see how it all worked. To be honest, I wasn't interested. I only say that because I know with you, I can be completely honest and say exactly what I mean. While your writing style is very nice, entertaining and fluid, the story itself was rather dry and boring. And I think it's how you brought the idea together. You have these two characters, and it's like they're sitting at a campfire, roasting smores and talking about what kind of people they are... and for like six pages. One thing with writing books. While you can get away with long dialogue scenes in the middle of a book (I have one dialogue scene in a book of mine that seems to never end. O.O), having one in the absolute beginning should be punishable by death. Because the reader doesn't want to have a friendly chat. They want to see if your story is worth reading. And a dialogue scene doesn't suck the reader in very well, but leaves them stranded while these two strangers (to the reader) talk to each other of things the reader has no knowledge of. So I think I would probably just ditch this entire thing (I know, hard. :/), and try to move on and just have a first chapter. As Rosy said, 99.7% of them are superfluous. And, to also be honest, I never read the prologues. Ever. I skip right over them and find chapter one.

I hope this helps somewhat, although it probably just repeated what the million reviewers before said.

Onto chapter one. I'll be nicer there. I promise.
~Darth Timmyjake




Spotswood says...


Your review was good. Thanks! I liked that you focused on the intro sentence. I think maybe my purpose of the prologue was more for my sakes and personal worldbuilding, but I have not written enough to want to completely get rid of the damn thing.



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eldEr wrote a review...



And here for a review as requested.

Alrighty, so we're going to cut straight to the chase here. From what I can tell, it's a lot less boring to read, and I was really, really glad to see that the backstory had been cut. Norbit and Robin's relationship has endearing qualities. The prose is decent, and it looks like you've tidied up a lot of the grammar/spelling/punctuation things that the former reviewers had mentioned.

Also, I can appreciate that you seem to be paying quite a bit of attention to worldbuilding. At least, that's sort of the impression we're getting, unless you're just throwing in fancy names and have a rough geological sketch in your head, tossed in with a few well-thought-out rituals. I really want to say that your worldbuilding is great, but I won't know until the story progresses.

Moving on from the positive, we'll draw our attention towards the negative. Again. I'm not going to nitpick paragraph by paragraph, because that's excessive and my job isn't pointing out every flaw in sentence structure. Besides that, as I said, you seem to have tidied this up for the most part. There are two bits that I'll quote though, because they kind of made me cringe. But before that:

Backstory (again)

Alright, so you've hacked out most of it, which is most excellent. Props to you, blah blah blah. On the other hand though, it still feels like you have way too much background information stuffed in here. You start blathering on about the Order of the Green midway through dialogue, and this blathering spans up to four paragraphs each time. It's too long a pause to go between a conversation that's already un-engaging; by the time we've got a response from the second character, we've forgotten what the first one said. Which is really not a good thing.

Most of what you've got here as background information can be summed up in one paragraph each time, or even just a couple sentences. We don't need every single detail of how this works. You have an entire novel to show us the inner workings of your world, and you don't want to take up the prologue to explain all of that. Unless you're Tolkien and you're totally magical, you cannot pull off a prologue that's mostly just informative. Your prologue needs to be a hook. Especially if you think it contains information that you feel the reader should know before moving onto chapter one, or said reader will probably just skip it entirely. I cannot tell you how many prologue's I've skipped because they were boring and they just sucked in general.

This is still one of the prologues I'd skip.

I'll repeat what Rosey said and say that most of what you as the writer needs to know, the reader does not. You need to know your world so that you don't accidentally run yourself into holes or change things up every five pages because you forgot certain details or don't have the kinks hammered out. Your reader? Yeah, as long as you know your world and can thus make it consistent, your reader does not need to know a lot of its inner workings. They'll accept what happens as fact.

On the other hand, adding bits and pieces adds intrigue and makes the world more believable. But you really, really need to work on realizing when you're adding it organically, and when you're making it sound forced/when it's too much, like it is here. Summarize in the prologue. Weave in details as the story progresses, in places where it's more natural/less stunting to do so.

Moving on.

Opening dialogue

Ehhhhh. It's better than it was before, but it's still... kind of an awkward place to begin? Less boring, but still not engaging. I felt like I was slogging through it, still. Tolerating, but still. Slogging. You do not want your readers to be slogging; especially not through dialogue.

On top of that, some of it felt pretty natural (woopy), but a lot of it felt stilted? The action and body-language given between the spoken words was play-by-play. In other words, it lacked emotion and didn't give us that much insight into the characters' personalities. They were pretty dang basic motions, and didn't add much to the feel of anything. I'd work with that a little and try to find a way to add characterization to them.

Also, there's this bit:

The older man laughed. “I thought you liked the cold. The legendary 'Winterman of Boraelgrasp', famously exiled to the Far North for the 'unforgivable crime of adultery.'”

“Says the man responsible for the death of the prince-consort.” Robin was silent, giving the younger man a bitter, but equally sarcastic look. Norbit smiled before pulling a crusty piece of waste out of his nose. “How does a man go from being commander of the Albanese Bloodcloaks to ranger of the green?”


This part. Made me want to face/desk a lot little bit. Particularly the part I bolded. It was an awkward, stilted, lazy, unnatural way to toss in a bit of backstory that basically feels like it's just screaming look at this one! I just. No. Please no.

And then the second bit? Yeah, it really doesn't help. More stilted, forced backstory. The questions are too specific. And oh gosh, if they've known each other for as long as you make it sound like they have, why in Heaven's sweet name are they having this conversation now? They should know these things about each other at this point. If you're going to even make a backstory-telling work, you have to do it before they know each other, but after they feel comfortable enough telling one another where they come from.

Dialogue is a wonderful way to get backstory in. You just... haven't executed it very well at all. Period. I'd work on that.

Dialogue as a whole

Okay, so while the dialogue was technically natural, I see that you, once again, failed to take Rosey's advice (and honestly, Ro and Lucrezia both gave you some pretty gosh darn dandy advice in different respectful areas). Anyway. These two characters have massively different upbringings, and are from drastically different places. But what do we not notice? Any difference in the way Norbit and Robin speak.

"But that's so petty!" you say. "Who really cares anyway?"

I do. Readers who know anything about linguistics will. And if you're going to try aiming for an incredible, well-thought-out, fantastic fantasy novel, you need to pay attention to the little things. You know why Tolkien got so famous? Here's a tip: He paid attention to everything. Same goes for Game of Thrones. If you want to even begin to enter the same league as these guys, you need to sweat the little things.

Like linguistics. Add some variation at least.

Prelude to the fight scene

Now, I'm imagining that we were supposed to feel some emotion when Norbit found the old man dead in the shack. Or, that we were at least supposed to be being held in suspense to some degree. I wasn't feeling it. It was very, very play-by-play, and thus, boring. And then you slog through finding Robin, and it feels like you could've accomplished this entire section in a much smaller word-count and conveyed more emotion and created more suspense than you did over the span it's at right now.

You cannot do suspense scenes play-by-play. They rely on what your character's feeling, and on the pumping adrenaline. They rely on atmosphere, and you've literally given the reader no atmosphere to work with. Just a series of events laid out in half-decent prose. And sometimes (a lot of the time), half-decent prose is nowhere near enough.

Also it was kind of hard to figure out what, exactly, was going on. It was too slow. You get bored and lost in it very easily.

The fight scene

Oh good lord. If the prelude was boring, this was worse. Again, it's all in the fact that you do it play-by-play. You try for a few spooky descriptions here and there, but it's really... dry. There's still no atmosphere. You take too long describing things, and the descriptions are still drawn out. And oh yes, description is good, but you need to limit it during scenes that are supposed to be fast-paced and hectic.

A chaotic fight scene in which everyone's ripping around and nobody really has any idea of what's going on is one of those scenes. Your job is to create a sense of urgency, panic, chaos, turmoil, and, probably, despair. You didn't do that. And, as a matter of fact, I believe that you were given a healthy amount of advice on your fight scenes below... oh right, Rosey laid it out pretty flat for you. I don't know how much you edited the fight scene, but it really doesn't look like you took her advice. And trust me, you needed to take that advice.

No more of this play-by-play nonsense. Give me a real fight scene. Scare me a little. At least make me feel the need to hold my breath once or twice. Action. Urgency. Fear. Emotion. Suspense.

Spoiler! :
If you're wondering what I mean by slow:

As he ran through the shantytown he began to notice some of the rangers fighting a handful of the hooded men.


He began to notice? You know, I think you'd hear it and figure out something was up at least, if you don't see it right away. And when you do see it, I don't think that you would begin to. You'd just. You know. See it and go "oh dang". You're just full of things like this, and bits that drag on and on. Things like that ^ do the exact opposite of creating a sense of urgency. This one was just my favourite because, like, no duh you're going to notice it if some of your men are fighting hooded people when there's no war scheduled in for the day?

What do I mean by play-by-play?

Norbit managed to pull himself back up and immediately punched the man in the face hard enough to render him unconscious.


First, he manages to pull himself back up. Next, he immediately punches this guy in the face. Hard enough to "render" him unconscious. Boring. Really really really super boring. No emotion. No urgency. Just an explanation of what happened.

"Norbit jerked himself back up, shaking off the shock and mustering his strength. He drew back his fist and struck the man in the face, watching, still half in a daze, as he fell."

On-the-fly sentence, but it does something: It conveys a sense of urgency through language, and gives you a feel for what's going on. Norbit is no longer robotic. He's human. The reader's chances of feeling something for him as he's fighting go up by a lot. Also, don't use the sentence I did in edits, mmkay? Mmkay.


In conclusion

You've got a decent idea going, and from what I read of your plot summary, a pretty interesting little tale going for you. Your narrative voice is pretty good, especially now that you've cleaned up your adjective overuse. You potentially have quite the world built up here, and I'm looking forward to seeing more of that.

My biggest advice: Start taking advice instead of backhanding reviews for their lack of "snark." The sass that may or may not be tossed into a review isn't technically what gives it substance. The criticism is what give sit substance. Take what people have said and apply it. The end.

Good job and keep writing
~Ish

Spoiler! :
PS:
There, standing before him was a being that had the body of a man but the head of a red serpentine.


"Serpentine", unless it's referring to a gemstone (and I don't think this guy has the head of a gemstone; forgive me if I'm wrong) is always an adjective. Not a noun. You want "serpent." Which is a pettier nitpick that I'm pointing out because it bothered me.




Spotswood says...


Trust me; the world has been built substantially. I've actually drawn about ten maps or so, not counting the blueprints for each major city.



LadySpark says...


lol I laugh at this because Isha is literally the best world builder YWS has.



Spotswood says...


Oh, I meant by THIS point. It was not nearly as big when I wrote this thing. haha



Spotswood says...


Oh, I meant by THIS point. It was not nearly as big when I wrote this thing. haha



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Sat May 03, 2014 1:32 am
WillowPaw1 wrote a review...



Hi! WillowPaw here as requested! :)

I'm dividing the review into two sections: positive comments and constructive criticism.

Positive Comments

I like the names of your characters, and the cities.
Robin is one of my favorite names for a guy Norbit seems pretty fantastical.

The other big thing I like is your vocabulary. You choose words that fit for the situation, and there are just some fantastic words in there! Good job with that. :)

Constructive Citicism

Lucrezia and Rosey Unicorn mentioned almost everything, but I'll just say what I have to share, even if they already did.

First of all, somehow the format is a little wacko? At least from my iPodtouch (what I'm on right now) it makes the piece go wacko, with it sliding back and forth. Probably on mistake, but I thought I'd just let you know.

Second, I found that you repeated "old man" a lot. I don't know, I just saw it a lot .

I also thought the prologue was kind of long. 0.o I heard once (yet I don't know if it's true) that a prologue is roughly half the size of a normal chapter. I don't know if your chapters are going to be about two times this size or not. (Also, I'm used to short-ish chapters on here so that might affect).

The last thing I have to say, and it is just a minor thing, is take out the "..." at the end. Just one period is fine, it sounds a lot better, at least to me.

ANYWAYS, hope this helps!~

WillowPaw1 :)




Spotswood says...


The prologue was only about four pages long. I intend to make my chapters ten to sixteen pages, but, due to the short attention span of readers and reviewers on here, I plan to break each chapter up in two.

And thank you for the review. Twas' quite helpful.



WillowPaw1 says...


Oh, okay. :) Glad I was at least a little helpful c:



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Tue Apr 29, 2014 9:32 pm
deleted30 wrote a review...



Hi there! Lucrezia here for a review, as requested.

I'm going to be breaking up this review in sections to better assess this piece. I'm also going to try to be as honest as possible, and I may come off as kind of harsh. If I do, apologies in advance (if it's any condolence, I tend to be harsher with better pieces so that they can fully reach their potential).

What Needs Work

This is a flawed piece, to say the least. That doesn't mean it isn't good, of course, but it does need some major work. First of all, editing. There's a lot of technical problems here—missing quotation marks, missing punctuation, misspellings, et cetera. I'm not sure how much you edited this, but you need to do it again, and more thoroughly. I edit my pieces between five to ten times just for technical issues and not content, and even then there's still some things I missed.

Then there's the matter of the info dumps. Yep, it's too much, too soon. The only way to fix this, in my eyes, is to remove about 70-80% of the backstories and all that jazz. Which may seem like a lot, but trust me, it will make all the difference.

Once you're removed that clunky backstory, I say sprinkle it in organically as the story progresses. In other words, make it seem natural. If the backstory stands out or seems out of place (or gives the reader a headache), you're doing it wrong.

Furthermore, I really hate when prologues have this much backstory in general. It's not even the first chapter! Why should I know all of this stuff? Make me care about the characters and the world they're in first before telling me everything about them/it. If that makes sense.

The -ly adjectives were incredibly annoying. It's a personal pet peeve of mine to read a story with a bunch of adjectives ending in "ly" close together. Removing at least half of those adjectives would also do wonders for helping with the flow.

Then there's that beginning:

“It’s cold,” Robin said as he blew on his hands. “Colder than usual.”

“You know nothing of cold,” Norbit responded, yawning as he did so. “It’s dark, mind you, but cold’s an overstatement.”


No. Just... no. I get that you may've been going for a realistic-conversation opening (or something?), but it just comes off incredibly boring. I mean, the weather? Seriously? When someone starts reading this, they're going to fall asleep from that first line alone. Hell, they're going to fall asleep from those first two words: "It's cold."

The beginning needs a serious rewrite as well. Hook the reader. It doesn't have to open with action, but at least make the conversation something worth reading, yes?

Getting back to the adjectives a moment...

Robin looked shocked. “You’ve seen the Unbreakable Ice?” he asked, very surprised.


This just feels incredibly redundant. Shocked. Very surprised. They're one and the same, really. So why have both? Pick one, remove the other.

The same could be said for a lot of this piece. Way too many adjectives. Granted, adjectives are incredibly easy to overuse, but that's hardly an excuse. Deleting half of them really would do wonders for the flow of this.

Now let's talk about that poem, shall we? It came off seeming very pretentious and unnecessary. The piece was long enough (especially for a prologue), so throwing in a poem in addition... I will, however, give you props for originality. I've never seen a prologue contain a poem before.

Also? That poem itself was ridiculously long and had some weird formatting. Breaking it up into stanzas would look much nicer. I'll break it up into stanzas for the purpose of editing (edits are in bold, things you should remove are in strikethrough, additional notes are in italics):

The Mercenary, in his rugged ways, loved the Maiden so;
Through rain and shine, to protect her heart, he’d smite down any foe.

They met through a comrade, to whom they shall be grateful thence
Without a glance, he sought to defend her and guard her ever hence.

Irony, in its funny ways, attracted to them since, (you should get rid of this part entirely, it's hard to understand and the piece would work better without it)
For He wanted a virgin and she wanted a prince
Though he was nothing but a rugged soul, a sword, bow, and quiver on his back;
And She was a fair princess, yet tainted by lovers past.

In the light, they weren’t their dreams, as they thought they wanted something else
Yet they loved each other well enough, they and together were like a story on a shelf. (Cheesiness alert!)

They loved each other tenderly, the other’s heart they doth sought.
For Fate brought them together, and fate cannot be fought.

He vowed to protect her when she came to him;
The Maiden found him sweet as he guarded her every limb.

He had no code of honour, the Mercenary was no knight,
But through his love he protected her, guarding her with his life.

He had a code to himself and to the Maiden fair;
They both traveled cross’ the land, from castle to dragon’s lair.
They had no company of others, for they were all they needed,

Their love baffled all the men; through their love bad men were defeated, ("men" is repetitive here)
And without her, his very soul would surely fall apart
For he loved her not for her beauty, but loved her for her heart.

And thus ends the tale of maid and rugged man;
And Their love that would last forever, till nation refused to stand.

Where doth they be now, that question you may ask;
Some say they’re in a tower somewhere where their love would always last.

They will never see the grave; Death’s bell shall never chime,
And there they’ll write their stories until the end of time.


Okay, so keep in mind that when writing poetry, not every word needs to end in a comma. ;) It should be written the same way as prose, really. Therefore, if what you're writing would be considered a run-on sentence if it was a short story, then you obviously need to break it up with some periods or what have you. Dig?

The poem was incredibly cheesy, but I think that's what you were going for. I think. I assume it was some kind of play on typical medieval type fairy tales or whatever? Anyway, it wasn't really my thing and the rhyming scheme was all over the map, but it did have some nice wording and a couple of bright spots. (Again, though, it did nothing for this prologue as a whole and really would be better off as a separate piece.)

There's probably more bad stuff I'm forgetting, but I'm sure whatever I left out Rosey Unicorn already amply covered. Sorry if any of that sounded harsh, sometimes I get a bit carried away. :P

Moving on, then. Time for the compliments/praise.

What I Liked

The storyline seems pretty cool so far. Even though all the backstory was tedious to say the least, your character development's great and you seemed very familiar with the characters in this already. Also, the fact that you have all that backstory planned out this early in the game is awesome.

Your pacing was good, nothing moved too fast or too slow. On the technical side of things, the only mistakes I found were pretty minor and easily smoothed out after a few edits. So, props for that.

You have an unmistakable style in your writing that's very original. Plus, you have a great narrative voice. According to my English-professor friend, a narrative voice is perhaps the hardest thing for any writer to find. The fact that you have one already—and such a strong one, at that—is beyond fantastic.

Your vocabulary was wonderful and quite broad. You did overuse it in this case, especially with those "-ly" adjectives, but even still, it's impressive to see such a great choice of wording.

There were parts of this that frankly reminded me of a published work. Which isn't to say it's all publishable gold (it certainly isn't, as evidenced by my critiques above), yet the good parts are great. The storyline and world, to me at least, seemed perfectly unique and intriguing. The dialogue was very realistic and didn't come off as stiff or unbelievable like some works' dialogue.

I could've done with a tad more imagery, but the description that was in this was very clear and well-executed. Props.

I do believe wholeheartedly this is a good piece, and could easily make for an amazing novel. But it definitely needs some work and TLC. My recommendation? Edit, edit, edit. This would be so much better if you just took the time to thoroughly edit it. Even if that means scrapping half of this prologue, so be it. A thorough edit would do wonders for this.

Overall, I think you have a really good thing going here. Apologies again if I seemed harsh (and I probably was, lol), but as I said, the works with the most potential are the best to rip apart from the inside out. ;)

Keep up the good work! :D




Spotswood says...


How was this harsh?

And frankly, I don't give a damn about the poem. I hate it. I don't even know why it's here. I wrote it while "in love" with some girl and my poetry has always been awful. You wasted your time there haha.

Riff on it and crap on it all you want. Who knows, maybe I'll join you. :D



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Tue Apr 29, 2014 1:08 am
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Rosendorn wrote a review...



Hello. Here as requested.

Allow me to preface by saying you requested a brutally honest, snarky review. I have every intention of delivering.

To be perfectly blunt I am not sure where to begin. After your extensive defence about how your writing itself was of good quality but your story was potentially poor, I expected no awkward sentences, no typos (one that I counted, potentially more; "speer"), no grammar errors (several missing quotation marks) and dialogue that didn't feel like a prose infodump in quotation marks. While dialogue is a fantastic way to reveal information there must be a certain amount of context for such an open, backstory filled conversation to take place, especially when that backstory takes up over half of a work's word count and is nothing besides backstory for the sake of backstory.

I believe I shall start from the mechanics and work my way up.

You seem to have quite the case of adverbitis. Adverbitis is defined as an overuse of -ly words and other adverbs. I ran a quick find on Word, and the result was in the 60s for 5k words. "Confusedly" is the one that sticks to mind because it's such a clear picture. Everyone knows what a confused look is, after all. It's a blank stare and a frown and a raised eyebrow and a neutral mouth and lips pushed to the side... easy!

As you can see, "confused" has many different expressions that reveal subtle nuances of characterization. You wouldn't want to rob yourself of characterization opportunities, now would you? There's already so much wordcount dedicated to characters, a few more words would fit right in as you describe their actual facial features and show how they react to stimuli.

This applies to any adverb meant to describe an emotion or a state of mind. These are nuanced, highly varied, body language rich characterization opportunities which are completely hamstrung by adverbs attempting to sum up something not meant to be summed up.

Now, your dialogue tags. You have about half "said" and half other words, with these other words ranging from "interrupted" to "bragged" and everywhere in between. These words should really only be used when absolutely nothing else works in their place, up to and including no body language cues that would tell you. Bragged is particularly glorious as a tag because that has absolutely no body language to it at all. It's not like bragging postures and tones of voice have more looks than being confused.

Onto the dialogue itself. As I had already alluded to, you have backstory lumped into often missing quotation marks. It was fascinating to read about these two people who obviously knew each other so long that they spoke almost exactly the same, without a trace of any different upbringing to a modern day high school student. After all, age, home town, time period, and travel experience don't make a difference in how people speak at all. Therefore it makes perfect sense for an older, lesser traveled thief to speak exactly the same as a young whippersnapper who's been around the world and back, and has mingled from everyone to bandit lords and high society.

It also made perfect sense for them to be telling each other all this, because there doesn't need to be a reason to spill all your history to either a good friend or a complete stranger, after all. People will simply tell full backstories without prompting and a guy who's bragged a lot will obviously only say new information that the old, jaded man would be interested in.

Vocabulary, syntax, slang and even the words in everyday speech are indicative of time period and upbringing. People simply do not talk the same in different cities, and a quick look at a map such as this shows the extreme variety that can occur in a very small geographic area (In this case, the UK), and the map is extremely incomplete. Language evolves from its area and every place is different, along with every time period. You can travel an hour and be in a completely unrecognizable dialect that uses turns of phrase you've never heard of. Words also get invented all the time, with "semantics" being brought into use in the 1930s and only really gaining popularity in the 1990s.

So while this dialogue is decent (despite being a giant infodump), it does not feel like it comes from two people with wildly different upbringings, let alone two different people in a fantasy world that is wildly different from our own. It would work for two modern day high schoolers who'd grown up in the same area and were about the same ages, but not the setting you currently have.

Continuing on the topic of words, you have quite the interesting mash-up of types of sounds, here. First you have the typical English place names, mixed in with made up place names, and names that run the gamut from average sounding to "includes weird accents and spellings for the sake of sounding fantasy". While it is perfectly okay to have eclectic sounding names, these names really shouldn't come from the same areas if these areas are relatively homogenous. Languages do tend to have predictable patterns until they start borrowing loanwords from every language under the sun (hence the nightmare that is English), and even then these loanwords get modified to fit pronunciation according to local tradition (see: loanwords from French in English). As a result the likelihood of two cities being named "Neversummer" and "Boraelgrasp" in the same general area is slim to none.

Pick general sound patterns for each area and stick to them. They can be really subtle in that some areas have more hard sounds (k, hard g, v) while others often/always have gliding sounds (ow, yo, wo, ay) or it can be "one area always has words pulled from Norse while the other has words pulled from Italian". Whatever you pick, just make it consistent.

Speaking of world building! I am so glad to see you've taken the task of making a full on Eurasia based fantasy world. With opium in the mix, I expect to see other Arabic and Middle Eastern things, which is really quite an extensive list, and various Middle Eastern inspired people in the large cities to account for them trading other things besides drugs.

Onto the story itself.

You begin by talking about the weather which is extremely far from "gripping hook" and continue talking about the surrounding area while trying and failing to create a sense of foreboding. I say failing because weather talk is not exactly what you'd call foreboding.

You have basically nothing but backstory happen for the first two thousand five hundred words of the story. I hope you can see the issue with this, especially considering you said the prologue was necessary to create a sense of urgency. Having a chronic lack of action for so long makes this difficult to read through and even get a sense of anything important being in here.

Once your action began, then it was decent. Unfortunately it's still stuffed with the same backstory we just got, and hearing it twice was just a tad exhausting. Meant far more when it was spread in action instead of simply dumped into talking heads dialogue, because it was more memorable when he had a modern day action to tie his past actions to.

The story overall was plagued by this sense of grandeur that indeed felt very Game of Thrones like. Mysterious creatures appearing out of nowhere and leaving no survivors in an area of the toughest, hardiest men, with a premonition of evil being felt from the north and ice motifs everywhere. When I saw that the threat was fire based my first thought was, And of course go with the opposite to Game of Thrones' ice zombies! That's not conspicuous at all. (Just a note, italics are the way to format thoughts in prose.)

You leave with almost exactly the same set up, as well, but lack the honest bone chilling malice of the Game of Thrones prologue. You're too caught up in making this the single most epic thing ever instead of focusing on grabbing our attention and keeping it from the get go. You have such a gut-wrenching death, introducing the first character murdered seven paragraphs before he's killed. That's the mark of death for shock value, which gets really old, really fast. The only death I felt a little sad over was Norbit's, but that wasn't because of all the backstory we got on him. It's because he's the only character who went and did things.

The opening really has nothing happen past introducing traveler as some mystical that is never brought up as all that important again, past being what amounts to carte blache to brag as much as he wants and give an excuse for such an extensive backstory dump which introduces us to everything about the world and characters with no reason to care about them at all. Like I said, the only reason I felt a little sad about Norbit is he went and did stuff. I cared more about what little information I got when he thought during actiony sequences than the full two thousand five hundred words of bragging beforehand.

If that is not a reason to adhere to action instead of simply talking, I'm not sure what is.

Speaking of action, your fight scenes could use some work. They read like a movie script of play by plays when these descriptions do not transfer to prose. When writing a fight, emotions trump the exact description of the movement. I get you were going for epic, but what is epic in movies is not epic in the written word.

The ending seemed to be conveniently troublesome. I'm all for using coincidences to get characters into trouble, but it reads "forced death" to have an experienced killer and traveler make that many mistakes in such a short period of time. Leaving the spear in means the guy won't bleed out as quickly. Having a quiver that loosely attached basically defeats the purpose of having a quiver. So while I did feel something around that death, it was mostly tampered with this overwhelming sense you were forcing trouble on him that was meant to copy Game of Thrones.

You don't need that poem. Cut it.

Overall, this was long, drawn out, tedious, almost a direct parallel to Game of Thrones, and slightly curiosity peaking. Had I not sloughed through half of this to get to the first inkling of movement, then I would not have added that last element.

Your hamstring here, really, is you give us no reason to keep reading right at the start. In Game of Thrones, we have them going out to investigate weird things and moving through a forest while they talk. You have them doing nothing but talking... and that's your problem. We don't need any of that backstory at all. Whenever a writer things the reader needs to know something, chances are the reader does not need to know it.

Cutting the first 2,500 words into a quick little summary of where they are and how the two ended there, with maybe a little bit of "it feels more dangerous" is really all you need. Right now these little hints are spread out in long chunks of backstory with no purpose past giving us a history lesson. You give enough backstory while the guy's actually fighting to get some connection to him, although mentioning his son for why he ended up there is probably wise.

There's also the language stuff I mentioned before which needs to be worked on in general.

Hope this helps. PM me if you have any questions/comments.

~Rosey




Silverlock says...


Wow! What an amazing review!



Spotswood says...


I was expecting it to be much snarkier. Thank you so much. I was expecting something far more negative from you. That aside, I will definitely adhere to your suggestions. Before you reviewed, I edited a lot of stuff out because the backstory was far too long in the beginning even before. Either way, this is appreciated. I do get the sense that you actually "liked it" as opposed to other things you have reviewed in the past.

And there are actually no Ice Zombies. The "threat of the north" is more of a mythical rumour of some kind, but the main threat lies to the east, in actuality as you will find out,





Ah, see, this is where skill shines through, because even if I absolutely despise a piece I make sure to never say so. I would not continue this piece, was bored out of my skull beginning at the very first paragraph, and only pushed my way through this whole thing because I wanted to be as thorough as possible to discuss absolutely everything that was wrong and I gave up listing because there were so many issues. Had this been my own devices, I would have stopped reading at "why don't we talk about the dark instead?" and given you a singlepointed review on beginnings, their importance, and how this piece had no hope of ever getting picked up by a publisher in its current state because of how absolutely pointless the whole prologue was.

I didn't mention 99% of prologues are pointless. This falls under the 99%.



Messenger says...


Wow Rosey. Just when I think I've learned something, you come and BLOOOOOOOOOW my mind away! You have no idea how helpful that was, and I didn't even write this piece you reviewed! . . . Can you review my prologue? >.>



Spotswood says...


Snarky, snarky :P



Lumi says...


Snark does not make a review worthwhile. Rosey's reviews are excellent because she assesses the material objectively and instructs with criticism. The snark is completely on the eyes of the receiver. Measuring by snark and harshness is just a medium of extending your ego, Spotswood. Focus on the material. If it sucks, snark will happen because reviewing bad writing is fun.



Spotswood says...


No, I asked her to be as snarky as possible, though. But yeah, I enjoy her reviews.



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Sat Mar 08, 2014 10:00 pm
KnightTeen wrote a review...



Well, here I am. Finally. Let's get this show on the road.

Norbit


I don't know why, but I am dying of laughter. This just strikes me as really funny. I don't know why, but just saying Norbit makes me giggle like a schoolgirl.


“The Westford seems darker than usual,”


I almost read 'The Westfold' and then I was like, wrong novel.

That's Lord of The Rings.

I thought you did a really good job with this.

It's definitely very original, so much that every weird word was showing up in my autocorrect and it was driving me insane!
But it was really really good. I like it.

I think that the poem could be stuck in italics to separate it from the rest of the story, but other than that there really is nothing that I can criticize.

Grammar is good, I can't find any spelling issues, this is amazing.

As always.
:)




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Fri Mar 07, 2014 7:50 am
Deanie wrote a review...



Heya Spotswood...

Man do you like to post long chapters xD Either way here goes!

Let me start by saying how much I really admire that poem at the end! Rhyme seems to come naturally to you. It flows smoothly, it tells a the tale well, I would say it's just perfect. I liked it a lot.

As for the chapter, you do write unbelievably well. Everything seems realistic... the characters, the way they interact and talk to each other. You lay down the setting well and write great fighting scenes. I really liked the character Norbit and how he trusted his sense over his friends doubt. Now I'm just going to hit with some nitpicks although most I think are just typos.

You keep your own definition of cold and I shall keep mind.


Mind should be mine.

“That’s out monarch!”


Out should be our.

Apparently Lord Fortman doesn’t see view it that way


Choose either see or view here, not both.

This realization came to him too lat when the rays of fire


I think you mean late here.

He broke into a heavy sweat by the time he reached one of the cleared paths. By the time he had reached


You mention by the time twice here, so maybe mix it up a bit here?

There was one thing I didn't like about this chapter, and it was kind of dominating in it as well. It was one huge information dump on the reader. You start by doing it within the dialogue, but that doesn't hide it much. You fill us in on all this backstory about the Unbreakable Ice, where they come from and so on. Then outside of the dialogue you just explain where they are, how things work within their community and all that. If I'm completely honest I felt a little bit bored, like I had to take in all this information. When I got to the part where action started happening, and the fighting started, my interest was renewed again.

My advice? Start with the fighting, the middle bit. And then as he goes along, fill us in on the details we need to know bit by bit. Tucking the information in small sections helps the reader feel like they are reading a history book to a world or something. Also, you gave us a lot of backstory on the Unbreakable Ice and all, but I feel like that won't be necessary until later. Things that don't apply to the story right now as they're happening, leave out until when they do. It makes you need to give us less information.

Other than though, I thought it was a good chapter. Your writing, as always, is great, and your characters realistic. I hope we get to see an emotional side to them soon. Right now Norbit sounds like a tough, warrior type of dude. And although he said he loved someone once, and she died, he mentioned it fleetingly. Maybe put a bit more emotion in there to make us see the more sensitive side to him. I'm sure everyone has one, and that would be the perfect moment to include it ;)

Okay, let me know if you post another chapter! I'll gladly read it...

Deanie x




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Tue Mar 04, 2014 10:17 pm
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Zontafer wrote a review...



First of all, when they we're talking about the Rangers, my first thought was definetly the Night Watch from Game of Thrones. :D

I agree with ahollander about the back and forth thing at the start, was pretty interesting.
Also, another small little detail I noticed was that they talked about Druids havings wars against Warlocks, which totally makes sense because it is shadow/demons vs nature.

One thing I got curious about was the Ice Wyrms; ''... The mine was once home to a family of Ice Wyrms, but that would’ve been thousands of years ago...''
It got me kinda wondering about them. But I don't think you should write anything about them in that part, since it gives the reader an opportunity to use his fantasy and think about them.

Another thing, is that I felt the text was sometimes a little ''heavy'' to read. Maybe it was too much information at once. Prologues are always a little bit heavy anyways, so maybe thats just okay. :)

The end was pretty exciting, when he was looking for his bow but he realized he'd lost them.

Overall I think that it was really interesting and exciting to read, unlike other prologues which has been really heavy. I usually just end up skipping the prologue after a page, but now I read through almost everything pretty minutely.

I hope you are getting chapter one out too, so I could get to know more of this realm!
And of course what happened to Norbit!

This is my first review, but I hope I got everything that is supposed to be in one haha ;D
Also sorry for any grammar mistakes.




Spotswood says...


Spoiler alert: Norbit doesn't make an appearance until Interlude One.

he is not exactly the main character, but rather the one who drives the prologue and epilogue. I should have probably done a dramatis personae...



Zontafer says...


Ahh okay. Anyways I think it may be the best choice. If i'm not completely wrong there is something in the epilogue who will keep the tension going on?



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Mon Mar 03, 2014 2:45 am
ahollander wrote a review...



Okay so first off WOW. I get the feeling this is kind of a play on Robin Hood. I might be completely wrong, but that's what I got from it. I really enjoyed this, there was so much detail. I really loved the back and forth between Robin and Norbit in the beginning. That's really all I have to say, so keep up the good work. :)





pain is that feeling when you are feeling hurt, but it never goes away leaving me hurt. oh it hurts.
— Dragonthorn